A Study on the Visual Styles of Wayang Kulit Kelantan and Its Capturing Methods

Kia, Khor Kheng; Chan, Yuen May

doi:10.1109/cgiv.2009.37

Cited by 8 publications

(6 citation statements)

References 1 publication

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“…There are various versions of characters according to each dalang, so it is evident that standardization and coherence in Wayang Kulit Kelantan puppets do not exist in any study in this area (Kia and Chan, 2009). Previous attempts have been limited to classifying the Ramayana characters as they appear in Wayang Kulit Kelantan or studying the puppets in significant detail (Yousof and Khor, 2017).…”

Section: Categories Of Wayang Kulit Malaysiamentioning

confidence: 99%

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

2024

ISVS

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Although research on cross-cultural influences between Asian nations has been widely published in the field of fine arts, there is a near absence of studies that directly analyse the connection of visual characteristics between the People's Republic of China and Malaysian shadow puppets, or the visual design elements that are unique to China's Central Plains Sheng shadow puppet. Using the classic shadow puppets Sheng and Sri Rama, this paper investigates the connections between China's and Malaysian shadow puppets with regard to visual elements of colour, shape, and cultural connotations.Analyses for this research utilize Iconography and Iconology, particularly Panofsky's methodology. Data was collected through comprehensive literature reviews and prepared questions applied during eight in-person interviews with master puppeteers, four of which were conducted in the People's Republic of China and four of which were conducted in Malaysia.It concludes that similarities between Sheng and Sri Rama include their facial orientation; hats that determine their identities, same engraving techniques; sparing facial carving; single painted skins; the same five-colour system; narrow, almond-shaped eyes; and well-defined facial structures. Their differences include disparate roles ranging from divine ruler to scholar; hat design adorned with non-identical motifs; and Sri Rama's absence of blue and always appearing in green in accordance with Hinduism and Islam. Notably, analyses reveal that Sri Rama's modelling is closer to Chinese shadow puppet design than other shadow puppets from India,

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Section: Categories Of Wayang Kulit Malaysiamentioning

confidence: 99%

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

2024

ISVS

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“…Colour symbolism is used within the puppet design, especially in the case of noble characters: -Seri Rama is always painted in green; Laksamana pink or orange (Kia & Chan, 2009); Sirat Maharaja is yellow while Hanuman is white. These colours are derived from Hindu religious symbolism.…”

Section: Colourmentioning

confidence: 99%

A Comparative Study on the Character Modeling of Chinese Shadow Play and Malaysian Wayang Kulit

2024

IJCM

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The shadow play cultures of China and Malaysia have a long history and rich cultural connotations, both of which belong to folk art forms. Due to the origin of shadow play culture and the differences in cultures between the two countries, the character designs of shadow play have formed unique regional cultures. This article mainly compares the character styles of shadow play between the two countries, summarizes the similarities and differences in artistic forms of shadow play, and showcases the beauty of different styles. In Chinese shadow play culture, the modelling of characters is usually related to historical stories or myths and legends. The modelling of characters includes the modelling techniques of Paper Cuttings and the colour shading of New Year pictures. In Malaysia's shadow play culture, shadow play is called "Wayang Kulit" and was introduced in Java, Indonesia. Generally, it portrays mythological stories about Hinduism, which is closely related to Java, Indonesia, which originated mainly from Hinduism. Regardless of the culture, the unique shapes and characteristics of shadow play characters can attract the audience's attention, show cultural value in character design, and help the audience better understand and feel the meaning of the characters in shadow play. Finally, through research, promote cultural exchange, dissemination, and promotion of shadow play between the two countries.

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“…Two Malay-language versions of the Ramayana-the written Hikayat Seri Rama (manuscript version first collected c. 1600) and Hikayat Maharaja Wana (an oral tradition; see Sweeney 1972a)-serve as the primary sources of material for the dramatic repertoire of "wayang kulit" Kelantan, which was historically based solely on oral tradition (Yousof & Khor, 2017). Several episodes have also been derived from Thai and Indonesian versions through performance rather than written texts, such as the Thai Ramakien or the ancient Javanese Kakawin Ramayana (Kia, 2014). Significant alterations introduced by successive generations of puppeteers over the years include the shortening of the narrative, the elimination of details, and a drastic reduction in the number of characters.…”

Section: Visual Comparison Of Rama's and Rahwana's Characters In Java...mentioning

confidence: 99%

Visual comparison of Rama’s and Rahwana’s characters in Javanese and Kelantanese wayang kulit

Wibowo,

Puspita,

Nugroho

et al. 2024

NOTION J. Linguist. Lit. Cult.

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Ramayana, a well-known tale originating from India, has been embraced across Southeast Asia. In regions like Yogyakarta, Indonesia, and Kelantan, Malaysia, local customs have influenced its portrayal, character representation leading to deviations in storyline and. The aim of this study to compare the visual depiction of key characters, particularly Rama and Rahwana, in Javanese and Kelantanese Wayang Kulit, symbolizing the protagonist and antagonist, respectively. This study intends to contribute by revealing the impact of local visual traditions on the enduring grandeur of the Ramayana tale. The method is comparative study, begin with defining data, collecting data from Yogyakarta and Kelantan master of puppets through interview and documentation, analyzing data, displaying data and draw conclusion. The result is found that there are visual similarities and differences related to Rama and Rahwana character. The common visual similarities such as crown, weapon, cloth and accessories. Meanwhile the difference shows that Javanese and Kelantanese is only about the detail of the cloth, the animal rides (Kelantan version), and the size of the Wayang Kulit. In Yogyakarta, Indonesia, and Kelantan, Malaysia, the story of Ramayana is depicted in unique ways, influenced by cultural variations. These distinctions manifest in the characters' looks, headgear, weapon characteristics, facial expressions, and facial coloring. Further investigation is necessary to delve into these differences and understand the puppeteers' role in conveying moral messages to the community.

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A Study on the Visual Styles of Wayang Kulit Kelantan and Its Capturing Methods

Cited by 8 publications

References 1 publication

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

A Comparative Study on the Character Modeling of Chinese Shadow Play and Malaysian Wayang Kulit

Visual comparison of Rama’s and Rahwana’s characters in Javanese and Kelantanese wayang kulit

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